its an underrated pluggin, which i immediately bought last year, after hearing it on a snare demo on youtube. i was recently remixing a blues rock cover track my old band did on a tascam 34, and the TG12345 is on most if not all 4 or 5 tracks. it has a little more of a tone to it vs the eq116, they are both worth having in their own right.ĭavedog, post: 456750, member: 4495 wrote: Next record I'm doing the whole thing with only the EMI TG12345 channel strip in place Compression regular attack then fast attack.I just got the fabfilter Q2 last week, and its brilliant. EQ starting with low boost, then low mid, high mid and high. Whole Kit: low bell boost, high shelf boost, mid range boost, regular compression, fast attack compression, gate, filter low cut, gate.įilters low then high cut. Kick: low bell boost, high bell boost, low mid cut, high mid boost, compression normal attack and fast attackHi-hats: high bell boost, low mid cut, low cut filter Snare: high shelf boost, low shelf boost, low mid cut, compression normal attack then fast attack, gate Our UAD 4K Channel Strip audio demo contains:

Minor gripes aside, it's great to finally see an SSL-influenced channel strip for the UAD platform. If you're a UAD-1 user, you may feel that this is pushing you to switch to a UAD-2 (though that would be no bad thing in itself). It's also worth noting that not only is there no SE version, but also that the 4K Channel Strip uses much more DSP than the Neve 88RS - a maximum of four mono instances on a UAD-1 versus 13 mono for the Neve 88RS. UA's 'best bits' approach means that the 4K is less well-equipped than both the Duende or Waves options. However, in use, you'll find that the three knobs (Ratio, Threshold and Release) can produce a wide range of results, so accurate dial positioning is paramount.įinally, it's worth noting that you can use the strip on stereo channels and, with the Link button engaged, the imaging will stay central. The compressor behaves well, with the fast attack option brilliant for hammering sharp transients.

Also, the input/output level controls and twin meters come in handy if you're pushing the EQ very hard. Sonically, the EQ works great for subtle enhancement of guitars, heavy EQing of drums and plenty in between. Anyone familiar with the original will find the routing options easy to use - the gate and compressor gain reduction metering feels just right, too. Unsurprisingly, the 4K Channel Strip emulates the SSL sound very well. It's incorporated here with three modes, including the 'no-chatter' gate option, and is useful as a creative effect as well as for knocking out noise. Also fundamental to the design is the ever-present automatic gain make-up.īack in the day, the onboard gate/expander was vital for keeping tape noise at bay. The compressor facilitates anything from subtle level control to full-on limiting, and although there are only two attack settings, the fully-adjustable release and ratio give plenty of control. The SSL 4000 dynamics section is VCA-based and the simple controls belie its power and flexibility. In addition, you also get separate high- and low-pass filters, and it's these six elements combined that produce an EQ that's precise and musical, hence its enduring popularity. The 4-band EQ has two fully parametric and two shelf/bell filters, with powerful +/-15dB gain. The only downside is that the respective EQ or filters are then no longer part of the audible processing chain. Both options mean you can try things out quickly.

Ssl duende vs uad 2018